The Wertzone

Saturday, 16 January 2077

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Friday, 24 May 2019

Warner Brothers have confirmed that Taika Waititi will be directing the long, long-awaited live action version of Akira. The film also has a release date: 21 May 2021.

According to Waititi, he wants to go back to the original manga series (published today as six graphic novels) rather than the 1988 anime film, which truncated the story considerably. This suggests that the film will only be adapting the first part of the story, not all of it. Waititi also wants to return the film to the setting of Neo-Tokyo with Asian actors, whilst previous live-action proposals have moved the film to America or Europe. It is unclear if this is still the plan, but hopefully so.

The 1988 film played a huge role in expanding the influence and popularity of anime in the West, building on the previous success of Voltron and Macross (in its heavily and controversially-adapted guise as Robotech) and kickstarting a huge explosion in the popularity of Japanese animation in Europe and the United States. That said, although the film is rightfully praised for its still-stunning and beautiful visuals, its storytelling (condensing some 2,530 pages of the manga into two hours of screen time) could be very rushed and confused.

Leonardo DiCaprio, a long-term fan of the original movie, is producing the new film.

The news means that Marvel's hopes for Waititi to return to direct a Thor 4 in the relatively near future have been thwarted, putting that potential project off until late 2022 at the earliest.

Thursday, 23 May 2019

Buzzfeed has scooped the news that Lucasfilm are developing a script based on the critically-acclaimed and massive-selling 2003 video game Star Wars: Knights of the Old Republic, developed by BioWare.

Screenwriter Laeta Kalogridis (Shutter Island, Altered Carbon, er, Terminator: Genisys) is reportedly developing a film trilogy based on the game and has almost completed the script for the first film in the series.

Set over 4,000 years before the events of the Star Wars prequel trilogy, the game tells the story of an amnesiac Jedi who awakens on a starship above the planet Taris that is under attack by Darth Malak's forces. The galaxy at this time is engaged in a civil war between open Jedi forces, led by the Jedi Council, and Sith forces under Darth Malak, former apprentice to the slain Darth Revan. The Republic is weak and divided between the two factions and a strong neutral faction.

The game sees the protagonist (named by the player) gaining a large number of powerful friends and allies, including Republic pilot Carth Onasi, Wookie warrior Zaalbar, Jedi Knight Bastila Shan, Mandalorian warrior Cancerous Ordo, psychopathic droid HK-47 and warrior Juhani (the first-ever canonically gay character to appear in Star Wars) following a trail of clues that leads to Darth Malak's true objective, a powerful weapon known as the Star Forge.

It is unclear if the new project plans to adapt the game - a single playthrough of which can last for well over 20 hours - as three movies, or if it will be to adapt the game as one movie with possible sequels based on Knights of the Old Republic II: The Sith Lords (2004) and The Old Republic (2011).

It is also unclear if Kalogridis is developing the film as the one to be produced and directed by David Benioff and D.B. Weiss for release in 2022, or for Rian Johnson's trilogy project, or as a speculative script unrelated to the above (possibly for Disney+?). It should be noted that Lucasfilm have been adamant that the post-Rise of Skywalker movies will take place in a completely different part of the Star Wars canon in both time and place, which this would certainly qualify for.

If the rumour is true, Laeta Kalogridis will become the first woman to write for a Star Wars film since Leigh Brackett wrote the first draft of the script for The Empire Strikes Back in the late 1970s.

Knights of the Old Republic is comfortably one of the most popular Star Wars stories and projects of all time, often ranking high on lists of the most popular instalments of the Star Wars franchise. BioWare have frequently discussed making a Knights of the Old Republic III, the last time as recently as completing work on Mass Effect 4 and moving that team over to Anthem, but reportedly their publisher Electronic Arts are sceptical of the appeal of a single-player focused RPG with no microtransactions or multiplayer element.

CBS has released the first teaser trailer for Star Trek: Picard. And immediately withdrawn it. They have released a nice poster though:

The story follows a retired Admiral Jean-Luc Picard (Sir Patrick Stewart) eighteen years after the events of Star Trek: Nemesis and fifteen years after he led a huge rescue mission with unforeseen consequences that led to Picard quitting Starfleet. Even Starfleet are uncertain why he did this. Since then Picard has been apparently working at his family vineyard in France (last seen in the Star Trek: The Next Generation episode Family). Circumstances bring Picard back into the Starfleet fold.

According to some reports, the rescue mission was an attempt by the Federation to help the people of the Romulan Empire due to the obliteration of the Romulan homeworld (as noted in the events of the 2009 movie Star Trek), the first time the events of the alternate "Abramsverse" or "Kelvin Timeline" have had a major impact on the Prime Timeline of the core Star Trek universe.

In a particularly geeky detail, this suggests that the official Star Trek timeline will have to be rewritten; the current timeline has the events of Star Trek: Nemesis taking place in 2379 whilst the destruction of Romulus is listed as occurring in 2387. The plot summary suggests that only three years elapse between the two events, presumably putting the destruction of Romulus in 2382 and setting this new series in 2400, bringing Star Trek into the 25th Century (or almost, depending on how you measure it).

Star Trek: Picard started shooting last month and will consist of 10 episodes, at least two of which will be directed by Stewart's old running-mate Jonathan Frakes. The Pulitzer and Hugo Award-winning author Michael Chabon is working on the series as a producer and writer.

The series is expected to debut on CBS All Access in the United States in late 2019.

In surprising news, the series will air on Amazon Prime worldwide, rather than Netflix (who currently air Star Trek: Discovery).

UPDATE: CBS have apparently removed the trailer they themselves put on YouTube. Curious.

Scott Lynch has confirmed that he has completed and delivered the manuscript for The Thorn of Emberlain, the fourth book in his Gentleman Bastard series.

The series began with The Lies of Locke Lamora (2006) and continued with Red Seas Over Red Skies (2007) and The Republic of Thieves (2013). The latter two books in the series have been delayed as Scott has had significant health issues.

Three more books are planned for the series: The Ministry of Necessity, The Mage and the Master Spy (title subject to change) and Inherit the Night.

With the manuscript complete, there will now be revisions, rewrites and edits before the book can be published. Due to this, I suspect we will not see the book before 2020. This is still great news, and Lynch gets bragging rights for being the first of the "Unholy Trifecta" of long-delayed fantasy novels (along with Patrick Rothfuss's Doors of Stone and George R.R. Martin's The Winds of Winter) to get to print.

Wednesday, 22 May 2019

This actually happened back in March, but I missed it at the time. The BBC has optioned Michael Moorcock's History of the Runestaff fantasy series for television.

The four-volume series consists of the novels The Jewel in the Skull (1967), The Mad God's Amulet (1968), The Sword of the Dawn (1968) and The Runestaff (1969). Set in a far future version of Europe, the story follows the adventures of German resistance fighter Dorian Hawkmoon as he seeks to destroy the Great Empire of Granbretan (a fascistic version of Britain), which is trying to conquer the continent.

The four-novel series was later expanded by The Chronicles of Castle Brass, a sequel trilogy. Moorcock also tied the sequence into his much larger Eternal Champion meta-saga, with Hawkmooon as another aspect of the Eternal Champion figure.

Steve Thompson, who has written for Sherlock and Doctor Who, is spearheading the project for BBC Studios.

Tuesday, 21 May 2019

Marvel has expanded the cast and crew for its Disney+ series The Falcon and the Winter Soldier, which is in pre-production. They have also confirmed that the series will be six episodes long and will air in August 2020.

Emily VanCamp is reprising her role as Sharon Carter, which she previously played in Captain America: The Winter Soldier and Captain America: Civil War. The niece of Peggy Carter (Hayley Attwell), she was introduced as a SHIELD agent who later transferred to the CIA. She became a possible love interest for Captain America in Civil War, although this plot thread was abandoned as a result of the events of The Avengers: Endgame.

Daniel Bruhl is reprising his rule as Helmut Zemo from Civil War. A Sokovian citizen infuriated by the destruction of his nation at the hands of the Avengers (as seen in Age of Ultron), Zemo conducted a campaign to discredit and ultimately destroy the team, resulting in its splintering into two factions. Zemo was captured at the end of Civil War, but noted that by splitting the Avengers his plan had succeeded (making him, arguably, the only Marvel villain whose evil scheme actually worked).

Kari Skogland (The Walking Dead, The Handmaid's Tale) will direct all six episodes. Anthony Mackie and Sebastian Stan are also reprising their title roles as Falcon and the Winter Soldier from the movies.

The casting suggests that the mini-series will tie up loose ends from the first three phases of the Marvel Cinematic Universe and pave the way for future film developments.

The One Ring has broken a story that Bryan Cogman, a writer-producer on HBO's Game of Thrones, has taken over Amazon's Lord of the Rings project as showrunner and writer, although Variety is reporting that his role may be more modest.

The news is backed up by a blog post from George R.R. Martin, who confirmed yesterday that Cogman was working on the project, and by Amazon confirming that they had hired Cogman to work on multiple projects for them several months ago. Cogman was also recently spotted consulting with Rafe Judkins, the showrunner of Amazon's Wheel of Time TV series, suggesting that he will also be involved in advising on other projects.

JD Payne and Patrick McKay had previously been announced as the showrunners for the project but some fans had speculated on their hiring, as their experience was restricted to writing the first drafts of Star Trek: Beyond and Godzilla: King of the Monsters. Payne and McKay seem to have spearheaded a major change in the project, which was originally mooted as an "adventures of young Aragorn" story, but will now be a more grandiose epic following the forging of the Rings of Power in the Second Age. Payne and McKay remain attached to the project as writers, but now working with Cogman. It's unclear if they are acting as co-showrunners together.

Bryan Cogman is noted as the "third head of the dragon" on Game of Thrones, keeping and maintaining the lore and ensuring the fidelity of the series to George R.R. Martin's novels. He wrote 11 episodes of the series, including several of the most critically-lauded in the show's history (and this season's sole episode to be met with blanket acclaim, A Knight of the Seven Kingdoms). He has been widely cited as the best writer to work on the series, particularly by those who wanted the story to hew closer to the novels.

Cogman's hiring will dramatically increase faith that Amazon's Lord of the Rings show will be faithful to the tone of Tolkien's novels. Production of the series is expected to begin in August in Scotland.

Update: Variety has confirmed that Cogman has joined Lord of the Rings but has so far only listed his role as "consultant." Oddly, Amazon have not commented firmly on the situation despite conflicting reports in the press.

It should be noted that with production of the first season slate to begin in just three months the bulk of the writing for the season should be complete, which suggests that Cogman may be getting a consulting credit for Season 1 and won't formally step up to a senior producing role until Season 2.

Further Update: The Amazon executive who orchestrated the deal with New Line Cinema and the Tolkien Estate - the largest in television history - has left the company after an internal realignment. Sharon Tal Yguado was responsible for the deal, which involved $250 million upfront for the rights (a demand flatly rejected by HBO, who refused to bid, whilst Netflix only offered $100 million) and a firm commitment of at least $100 million per season for a five-season package. The deal has been described as foolhardy by many Hollywood commentators and critics, especially as it also contained a punishing schedule where the show had to start filming within two years (which expires in November 2019) or the rights reverted. Yguado hired Payne and McKay, who are regarded as strong up-and-comers in Hollywood but have never run a show before.

Whether this has a bearing on Cogman being brought in is unclear, but it appears that there is a major realignment going on regarding the project at Amazon Studios.

Marneus Augustus Calgar is the Chapter Master of the Ultramarines, one of the most respected, feared and legendary warriors in the Imperium of Man. Fifty years after the defeat of Hive Fleet Behemoth, the domain of Ultramar is still beset by enemies but is held secure by the Imperium's forces, secure enough for Calgar to embark on a goodwill tour of the remote, outlying colony of Zalidar. But Calgar's arrival coincides with that of a full-scale ork invasion force. Calgar's transport is shot down and he and a bare handful of Space Marines have to make a hazardous journey to where the capital, Zalathras, withstands siege.

Calgar's Siege is Kearney's second Warhammer 40,000 novel, although the first published. The first, Umbra Sumus, was put on hold due to a copyright dispute between Games Workshop and Sherrilyn Kenyon over the use of the name "Dark Hunters" for a Space Marine Chapter and still hasn't appeared.

Calgar's Siege, fortunately, has made to print and has been worth the wait (also, no foreknowledge of the WH40K setting is required). The marriage of Kearney's formidable skills at storytelling, characterisation and battle scenes (Kearney is, hands down, modern SFF's best writer at combat scenes) with the over-the-top, technicolour, occasionally crazed Warhammer 40,000 setting is one made in heaven. Kearney brings the setting to vivid life as we follow the defence of the hive city of Zalathras against an onslaught of orks.

The action switches between several groups of characters, including the beleaguered planetary administrator struggling to stay on top of the conflict from his tower to the rogue trader Morcault and his crew on the starship Mayfly, who first get wind of the impending invasion and then fly air support and transport during the siege. But the focus is firmly on Marneus Calgar, one of the most legendary characters in the modern 40K canon, as he leads a small number of Space Marines into battle. One of the fun things about the book is seeing Calgar, who can usually summon armies in the hundreds of thousands and vast space armadas in the blink of an eye, deal with just being a common grunt on the ground during a particularly gruelling war in jungle terrain.

Kearney is at home here, mixing up battle scenes with quieter character moments and orchestrating the entire battle with a fine conductor's hand. He is able to craft distinct characters from each Space Marine and many of the ordinary humans defending the planet and give each one a reasonable arc.

There are some minor issues. Kearney's skills at characterisation tend towards moral ambiguity and doubt: heroes who are often heroes because of their flaws and how they overcome them. There isn't much moral ambiguity in Space Marines, who are righteous, determined and genetically engineered towards supreme confidence, although Kearney does nevertheless succeed in making them distinct characters. The ordinary human characters are more conflicted and more interesting as a result. This is more a feature (or bug) of the setting than Kearney's writing and he manages to overcome it well.

More traditional a problem for Kearney, a writer who has never outstayed his welcome, is that the story sometimes feels a bit too streamlined, and more scenes of how the conflict is affecting ordinary citizens may have been welcome to establish the background setting more firmly.

Ultimately, Calgar's Siege (****) is Paul Kearney doing what he does best, crafting intricate stories of compelling characters surviving in the midst of war, chaos and adversity. It's not his best book, nor the best WH40K novel, but it is a strong SFF war novel. It is the first in a trilogy, followed by Calgar's Fury (2017) and the forthcoming Calgar's Reckoning. It is available now in the UK and USA.

Monday, 20 May 2019

Five years ago, I talked about the best SFF finales, the shows that stuck their landings with good, rousing endings. Even rarer than a good ending is a good pilot, a great first episode that hooks you into a show for the duration. Many shows take a good 3-4 episodes to bed in and start getting good, so shows which are on fire from the first episode are rarer, and more valuable to networks.

Here is a list of ten of the best show-openers (in no particular order). Note that I have used "pilot" to mean "the first episode of the series" rather than the technical definition (a premiere episode filmed separately to the rest of the series, not always for public consumption).

Battlestar Galactica: The Mini-Series

Aired 8-9 December 2003

Ronald D. Moore worked on the Star Trek franchise over a decade, starting on The Next Generation in 1989 and rounding off the final season of Deep Space Nine in 1999, co-writing two movies along the way. In 2000 he joined the writing team of Star Trek: Voyager in its sixth season, but quickly found his goals for the series being thwarted. He wanted to see Voyager, trapped far from home on the other side of the galaxy, taking damage and staying damaged from episode to episode. He wanted to see more consistent characterisation, the morals of Starfleet being tested in extreme circumstances. Instead the other writers and producers wanted to hit the reset button at the end of every week.

Three years later, Moore was approached by the Sci-Fi Network (now SyFy) with an intriguing offer. They'd picked up the rights to 1978 space opera Battlestar Galactica and were developing a remake project. A previous reboot attempt, with X-Men producers Bryan Singer and Tom DeSanto, had foundered in the wake of 9/11 and SyFy were now looking for a fresh take. Moore agreed to take on the project on the understanding that he wanted to make it a more gritty and adult show. Although he'd enjoyed the original show, he felt the premise had been under-valued. The destruction of twelve planets and the deaths of billions of people would have left a staggering mental scar on the survivors, not to mention raising extreme ethical concerns of how the military and civilian authorities worked together in such circumstances, not to mention the collective PTSD of having tens of thousands of people trapped in spacecraft with dwindling supplies for months or years on end.

The result was a mini-series, aired on SyFy and then NBC in 2003, which served as a backdoor pilot for a series proper. And it'd be fair to say that Moore and his team knocked it out of the park. The second the mini-series opens it feels different. Director Michael Rymer created a shaky, immediate style of shooting that put the viewer in the heart of the action. Composer Richard Gibbs used a drums-heavy sound to create a very different, military-feeling soundtrack. The actors, a mix of newcomers like Jamie Bamber and Katee Sackhoff and industry veterans like Edward James Olmos and Mary McDonnell, are uniformly excellent. The visual effects by CG studio Zoic are (still) amazing. Over the course of a generous three hours, the mini-series builds the world of the Twelve Colonies and then tears it down, leaving the bewildered survivors to try to escape and build a new life for themselves.

It's not the series at its best - the first episode of Season 1 and thus the next episode after this, 33, may hold that honour - but it does set up the show well and leave you wanting to watch more.

Blake's 7: The Way Back

Aired 2 January 1978

In the late 1970s, veteran TV writer Terry Nation was called in to a meeting at the BBC to discuss creating a new show. A respected writer with a huge amount of experience in the industry, he was still best-known for creating the Daleks for Doctor Who fifteen years earlier, and the BBC were hoping to tap that magic again. Nation had several ideas for crime dramas and other ideas, but the executives he was talking to seemed underwhelmed. Improvising on the spot, Nation suggested a dystopian space opera, with a band of malcontents and criminals reluctantly joining forces to escape a tyrannical government. He left with a commission to write a pilot.

Blake's 7 was developed as a conscious riposte to the relentless optimism of Star Trek; the symbol of the despotic Terran Federation is that of Star Trek's Federation but turned to the extreme right. Nation decided he didn't want to write a children's show, and instead wrote an adult, tough and at times brutal pilot script in which engineer Roj Blake is taken to a clandestine meeting of rebels against the government and learns that he was once a respected military leader, captured by the Federation and mind-wiped to be turned into a model citizen. Blake is horrified and suffers a mild mental breakdown as his real memories come flooding back. His new associates are killed in a massacre and Blake finds himself on trial on trumped-up charges of child molestation. His lawyers discover the truth and embark on a quest to clear Blake's name...with invariably fatal results. Only at the end of the episode does Blake meet some of his other soon-to-be fellow shipmates (Jenna and Vila; Avon doesn't appear until the second episode), as he is carried away from Earth on a transport, vowing to return to destroy the government.

The Way Back is uncompromising and quite astonishingly cynical, landing in tone somewhere between Nineteen Eighty-Four, The Prisoner and a waking nightmare, and light-years from the cowboy theatrics of the then recently-released movie Star Wars. It has money problems - Blake's 7 was commissioned as a replacement for contemporary crime drama Softly Softly: Task Force and given the exact same budget! - but these are mostly overcome by cunning use of industrial wastelands and locations as sets and some quite excellent model work. What remains overwhelmingly impressive is the bleak atmosphere and superb acting, particularly from Gareth Thomas as Blake. Not just a great pilot episode, this is one of the best episodes of the entire series.

Doctor Who: An Unearthly Child

Aired 23 November 1963

The day after the assassination of President John F. Kennedy, the BBC started broadcasting a very unusual drama series. Commissioned as a stopgap between the Saturday sports coverage and an evening pop music show, Doctor Who was a show that combined elements of historical drama, science fiction and educational show. Its long list of creators (Sydney Newman, Anthony Coburn, C.E. Webber, Donald Wilson, Verity Lambert and David Whittaker all played a role in development) shows it was a tough concept to translate to screen, but eventually they succeeded and filmed a pilot episode.

Unfortunately, the pilot episode was a failure. The direction was off, the actors fluffed their lines several times and bits of the set broke off during filming. Unusually (because of the considerable expense), the BBC took the step of mounting a full re-shoot of the pilot, along with a partial rewrite of the script to make the characters more relatable. This time, the team hit it out of the park, crafting a remarkable 25-minute science fiction mystery series that would ultimately launch a franchise that would run for fifty-six years (and counting).

An Unearthly Child sees Coal Hill School teachers Ian Chesterton and Barbara Wright becoming concerned about the welfare of one of their students, Susan Foreman, who is quite astonishingly bright and intelligent about somethings (like science and maths) but astoundingly ignorant about others. They are bewildered to discover that she lives with her grandfather in what appears to be a junkyard. Her grandfather, who answers only to the title "Doctor," tries to escape their attention by taking refuge in a police telephone box, but the teachers follow him inside only to discover it is in fact a camouflaged space/time machine, a TARDIS. Shenanigans ensure in which they also learn that both the Doctor and Susan are aliens, exiles from another world, before the TARDIS malfunctions and carries them away from Earth, beginning an adventure that will last a long, long time.

The first episode of Doctor Who has many of the ingredients of later episodes, including a mystery and dramatic revelations, but this time they're about the Doctor himself. This was the first time people had encountered the character, or the TARDIS, and in many cases the very idea of time travel. With some impressive sets (by 1963 BBC standards), good writing and an off-beat atmosphere, not to mention a superlative performance by William Hartnell (the Doctor), which is somewhere between stern and outright threatening, An Unearthly Child sets the scene for all that has followed since.

The Expanse: Dulcinea

Aired 23 November 2015

Bringing James S.A. Corey's series of space opera novels to the screen was always going to be a big challenge, but it's one that the team at Alcon Entertainment rose to with a relish. Dulcinea introduces the setting of the 23rd Century Solar system as vividly as Ron Moore introduced the world of the Twelve Colonies in Battlestar Galactica a dozen years earlier. The attention to detail is amazing, from the lighter gravity in the asteroid settlements to the way the crewmembers of ships not under thrust have to float in zero-g. More important are the actors, with Thomas Jane as a world-weary detective and Steven Strait as the idealistic would-be hero who puts his life (and those of others) on the line to do what he considers to be right.

The result is a vivid and immediately-impactful vision of the future, and a show that starts already in fifth gear and only accelerates from there. Stunning visuals (the effects team on the show deserve all the plaudits for their clear, detailed style, and to be frank the guys creating the murky, often barely-discernible CG on Star Trek: Discovery could learn a lot from them), some excellent music and some terrific directing (the opening imagery of Julie Mao on her terror-stricken ship is now iconic) help propel the story onwards.

The Expanse is the best space opera show since - and possibly including - Battlestar Galactica and this first episode is an important part of the reason why. Remember the Cant!

Firefly: Serenity

Aired 20 December 2002

Serenity was the first episode of Firefly to be written and shot, but it was not the first to be broadcast: Fox felt the episode was low on action and pace, so they ordered Joss Whedon to create a punchier opening (resulting in The Train Job) and moved this premiere to later in the run. Of course, as this episode was the one that established what the hell was going on and introduced the characters and premise, this didn't do much but leave viewers extremely confused and switching off in their droves, leading a few weeks later to the show's cancellation.

This was a huge shame (understatement) as Serenity - not to be confused with the movie of the same name - is a splendid pilot, the best Joss Whedon has ever written. It sets up both the world and the worldview of its characters, introduces a relatively large cast and establishes a significant mystery that will run across the season. It also has to tell rollicking good story in its own right, which it does with enviable skill.

Whilst it's hard to pinpoint one reason why Firefly failed, taking it's excellent opening two hours and burying them at the end of the first season probably had a key role to play.

Lost: Pilot

Aired 22 September 2004

Costing almost $15 million, the pilot episode to Lost is still the most expensive TV pilot ever filmed. To sell the crash-landing of Oceanic Flight 815 on a remote island in the South Pacific, ABC shipped a broken-up Lockheed L-1011 to Hawaii, scattered bits of it along a beach and then, after several weeks of shooting, had to carefully remove it again. It was absurdly indulgent, but every second of the expense ends up on screen, resulting in a scene of chaos, explosions and people trying to save one another that grabbed the audience and didn't let up.

J.J. Abrams and Damon Lindelof's script is intriguing, setting up no less than fourteen regular characters (and several more recurring) and establishing almost all of them with some interesting character work before later episodes would do the heavy lifting of fleshing them all out via flashbacks. Excellent acting and fantastic location shooting in Hawaii added up to that rarest of things, a network TV show that looked as expensive as premium cable.

Lost's pilot shows the value of starting your show with a bang, grabbing the audience's attention, and then not letting it go.

Mr. Robot: eps1.0_hellofriend.mov

Aired 24 June 2015

Mr. Robot began life as a movie script by Sam Ismail which he developed for some time before realising that the story was too big and the characters bursting past the page count, demanding more material. Ismail reframed the two-hour movie as a ten-hour season of television, with the pilot expanding from the first thirty pages of the script.

Mr. Robot's pilot is remarkable, an intense drama blending psychology, hacking, cyberthriller and drama. Rami Malek is perfectly cast as Eliot Alderson, a man suffering from depression and loneliness who relates to people by hacking them online, even his therapist. In doing so he finds out secrets about them that they don't even know, and is able to influence their lives without them ever knowing.

Mr. Robot's pilot also has unusual rewatch value. You can watch it on the surface as the technothriller it comes across as, but after watching Season 1 you can go back with fresh information and see all the events again in a different light. A remarkable opening episode to a very unique-feeling series.

Red Dwarf: The End

Aired 15 February 1988

"Everybody's dead, Dave." The very first episode of Red Dwarf sets up a very strong premise, with Dave Lister, the lowest-ranking crewmember on the five-mile-long mining ship Red Dwarf (because the service robots have a better union than the human maintenance crew), being sentenced to spend the rest of the mission in temporal stasis after smuggling an unquarantined cat on board. This proves unexpectedly helpful when the crew is wiped out by a lethal radiation leak. Holly, the ship's AI (IQ 6,000, "the same as 12,000 traffic wardens"), steers the ship into deep space and waits for the radiation to die down to a safe background level...which takes 3 million years.

Emerging from stasis, Lister discovers his only company is the now-senile Holly, a humanoid lifeform who descended from his pregnant cat and a holographic recreation of Lister's commanding office, the painfully officious and unpleasant Arnold J. Rimmer.

It's a great premise which gets the show off to a good start (arguably the second episode, Future Echoes, is also required viewing as it sets up how the show can move beyond its limited premise), showcases the amazing cast and features some good gags. A 31-year (and counting) journey started here.

Star Trek: Deep Space Nine: Emissary

Aired 3 January 1993

Deep Space Nine is almost certainly the finest Star Trek television series for myriad reasons, from its greater levels of serialisation to its intricate character arcs to its refusal to push the reset button at the end of each episode, but one that is oft-overlooked is the fact that it has the best opening episode in the entire franchise.

The Cage was so esoteric and weird that it put the broadcasters off and nearly killed the original Star Trek, before it came back with the (somewhat) stronger and mostly-recast second pilot Where No Man Has Gone Before; the broadcasters were still unconvinced and ended up dropping in a random early Season 1 episode to kick things off instead. Star Trek: The Next Generation's Encounter at Farpoint was intriguing but clumsily-written, with the characters pale shadows of their later, more fleshed-out incarnations. Voyager's Caretaker was only okay, and Enterprise's Broken Bow started off well by promising a more low-tech approach to Star Trek that it had pretty much broken by the end of the pilot. Discovery took arguably three whole episodes to even finish off setting up its basic premise.

Emissary, though, is a much more successful episode. It opens with a literal bang, with producer Michael Piller finally apologising to fans for having to wimp out on showing the Battle of Wolf 359 from The Next Generation's Borg epic The Best of Both Worlds three years earlier (due to cost). An epic flashback depicts the desperate struggle as the Borg cut through a Starfleet armada of forty starships with contemptuous ease, Commander Ben Sisko losing his wife in the process.

The rest of the episode is fascinating. The Cardassians have withdraw their occupation force from the planet Bajor after forty years of brutal conquest, leaving massive religious and social upheavals in their wake. The Federation has stepped in to help the transition and run an orbiting Cardassian space station, but to the surprise of the Starfleet personnel, they find a hostile reception among those Bajorans who fear they've swapped one oppressor for another. It's all rather messy and a big departure from The Next Generation, where everyone is so civilised and reasonable and solves problems over cups of (Earl Grey, hot) tea and sessions with the ship's counsellor. The fact that the main cast includes a significant number of both Starfleet and non-Starfleet personnel (a first and, to date, last for the franchise) allows for more character and cultural conflict than we'd previously seen on Trek, and fuelled seven full (and mostly excellent) seasons of stories.

The Walking Dead: Days Gone Bye

Aired 31 October 2010

The Walking Dead has become such a divisive and polarising show, that it's easy to forget how well-received the first episode (and most of the first season) was. Directed by Frank Darabont (that's Mr. Shawshank Redemption to you and me), the opening episode is a masterclass in slowly building tension and character interplay, particularly the exchanges between Rick and Morgan (so effective that Morgan would return to the series years later by popular fan demand).

The visuals are striking throughout, particularly the closing images of Rick riding a horse into an eerily deserted Atlanta, only to be attacked by a vast horde of walkers and forced to take refuge in a tank. It's rare to see a pilot given this level of production value, scripting and direction, and a genuine pleasure to watch.

Of course, Darabont would be forced off The Walking Dead in -contentious circumstances a year later (with litigation still continuing today), and The Walking Dead would go through so many showrunners, writing staffs and contortions of premise that the show today barely resembles how it started, but this opener remains excellent and compelling viewing.

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